Theater to See in L.A. This Week: Veterans Starring in a Vietnam War Play

Writer-director John DiFusco's revival of his Vietnam drama Tracers impressed Paul Birchall enough to earn it this week's Pick. For all new reviews and stage listings, see below

Breaking up hard to do in this week's stage feature, which compares Neil Simon's The Sunshine Boys at the Ahmanson to Paul Coates' The End of It at the Matrix.

NEW THEATER REVIEWS: Scheduled for Publication October 10, 2013:

GO: FLOWERS FOR ALGERNON

Deaf West Theatre

Daniel Keyes' now classic sci-fi story about a mentally challenged man whose IQ skyrockets after a surgical procedure tackles not only how we treat disabled individuals but how ephemeral are those intangible values -- love, life, respect -- that we cherish. Directed by Matthew McCray, Deaf West Theatre's signed and spoken production of David Rogers' stage adaptation is a mixed bag, its awkward staging offset by Daniel N. Durant's charismatic lead performance as Charlie, along with the capable work of several other performers. Though never quite persuasive as a towering intellect, Durant's overwhelming likability in every scene compels attention. Especially effective are his lovely interchanges with Hillary Baack, exuding her own unpretentious charm as his teacher and vulnerable love interest. The production's weaknesses have to do with the side-by-side placement of signing and speaking performers, a cluttering visual distraction that detracts from the drama. Also confusing is having some performers sign for one character while taking on the role of another, a choice that emanates from the paring of the original 30 person ensemble to 12. McCray's staging of flashbacks behind a scrim adds resonant texture to the narrative, as do lighting designer Jeremy Pivnick's blue, green and gray changes in the backdrop's hue. Bruce Katzman adds a strong presence in his dual role as Charlie's unsentimental doctor and his confounded Dad. Josh Breslow brings intensity and gravitas to the voiced embodiment of Charlie's thoughtful adult self. Deaf West Theatre at the Whitefire Theater, 13500 Ventura Blvd., Sherman Oaks; Thurs.- Sat., 8 p.m.; Sun., 2 p.m.; through Nov. 3. (818) 990-2324. (Deborah Klugman)

THE GUARDSMAN

Elyse Mirto and Freddy Douglas

Craig Schwartz

Of the 42 plays written by the Hungarian Ferenc Molnár, few have found a permanent foothold on the English-language stage to the degree of this 1910 farce about vanity, artifice and theatrical illusion. It is, in short, an old chestnut of the pre-World War I high style. Unfortunately, director Michael Michetti's otherwise handsome revival (on Tom Buderwitz's elegant set and under Adam Frank's bravura lighting) can't quite blow enough of the dust off Molnár's antique ironies and patent absurdities to ignite more than polite titters. Freddy Douglas is the neurotically insecure Budapest matinee idol convinced that his stage-diva wife (Elyse Mirto) is entertaining ideas of an affair. To trap her, he sets out to seduce her in the guise of a dashing Viennese officer. While Douglas plays his part with flamboyant relish, Mirto's aloof and remote turn results in an unsettling chemistry that only comically catalyzes when the two share a scene with the fine Robertson Dean as "The Critic." A Noise Within, 3352 E. Foothill Blvd., Pasadena; Sun., Oct. 13 & Nov. 10, 2 & 7 p.m.; Fri., Nov. 1 & 15, 8 p.m.; Sat., Nov. 2 & 30, 2 & 8 p.m.; Sat., Nov. 16, 8 p.m.; Thurs., Nov. 21, 7:30 p.m.; through Nov. 30. 626-356-3100, anoisewithin.org. (Bill Raden)

HAUNTINGS: KINETIC THEORY CIRCUS HALLOWEEN EXTRAVAGANZA Kinetic Theory is both a professional theater company and a circus/theater training program. The current offering is essentially a pair of Halloween-themed student productions. The Invitation is a series of short sketches performed by the Youth Circus Troupe, ages 8-13. Because they're kids, the charm and cuteness factors loom large, but they also demonstrate impressive skills in mime, gymnastics, back flips and rope jumping (one scrappy little guy, portraying a rambunctious kitten, manages to jump rope on all fours). Dracula: A Symphony of Terror features the preprofessional troupe, ages 13-25. More polished and versatile, they present a mimed version of the Dracula tale with all the familiar characters. Jonathan arrives at the spooky castle to be greeted by the sinister count and a corps de ballet of athletic female vampires. As with any school show, every student must have a moment in the spotlight, but the resulting repetition tends to slow down the story. Still, there's some fine work here, including skillful comic touches, along with juggling, diving through hoops, trapeze work, contortionists, gymnastics and aerial silk work. Matinee performances include both shows; the evening version offers only Dracula. Kinetic Theory Theatre, 3604 Holdrege Ave., Culver City; Sat., 2 & 8 p.m.; through Nov. 2. (310) 606-2617. (Neal Weaver)

MARILYN ... MADNESS & ME

Alison James and Adam Meyer

Ed Krieger

Playwright Frank V. Furino is hardly the first to see in Marilyn Monroe's celebrated trajectory of driving ambition and self-destructive insecurity something more darkly emblematic of the decade that marked her demise. And for a while, Furino's Forrest Gump-like fantasy (directed by Joe Leonardo) about a good-natured garage mechanic (Adam Meyer) and his rabbit hole-like friendship with the star (a poignantly convincing Alison Janes) during her final two years seems like an ironic and offbeat tour of some of the 1960s' cataclysmic headlines. While it would be a spoiler to give away more than what amounts to the play's paraphrase of the Denis Leary quip, "the Kennedys -- good leaders but bad dates," suffice it to say that Furino is an ardent believer in the Marilyn mythos. As such, he unfortunately fails to see that rather than the tear-jerking tragedy he thinks it is, his story is the stuff of mordant black comedy. El Portal Theatre, 5269 Lankershim Blvd., N. Hlywd.; Wed.-Sat., 8 p.m.; Sat. & Sun., 3 p.m.; through Oct. 20. (818) 508-4200, elportaltheatre.com. (Bill Raden)

In the 1980s, author-director John DiFusco, along with a group of other veterans of the Vietnam War, conceived and executed the play Tracers, channeling their military experiences into what would become one of the most important dramas written about the war. Thirty years on, war is still hell -- and DiFusco and a new ensemble, all veterans of more recent wars and military actions, have reprised the work in a powerful new production that's every bit as harrowing as the original. In part that's because the original show's therapeutic underpinnings are downplayed in favor of a more dynamic depiction of what war is actually like on a human level. Tracers centers on the experiences of a group of archetypal soldiers who progress from enlistment to cannon fodder. The actor-veteran cast's military experiences flavor the production in often subtle ways, from the articulated terror of mustering in boot camp, to the crisp and chillingly authentic sequences in which plodding patrols erupt into blood-soaked violence. Particularly compelling turns in DiFusco's vital production are offered by Trevor Scott's likable Everyman soldier Dinky Dau, Jaimyon Parker's world-weary army medic, and Christopher DeVinny's nicely conflicted Professor. Rogue Machine and USVAA Theater in the AMVETS Post II Building, 10858 Culver Blvd, Culver City; Fri.-Sat., 8 p.m.; Sun., Oct. 20, 27, Nov. 3, 6 p.m.; through Nov. 9. (855) 585-5185, http://roguemachinetheatre.org (Paul Birchall)

Adults, Keep Out: A Merry Musical for Adults Only: This musical comedy by Evelyn Rudie and Chris DeCarlo (with music by Matthew Wrather) comes with its own warning, right in the title -- and, unfortunately, discerning theatergoers would be well advised to heed the admonition. The show purports to take place in a land of make-believe, where several kids embark on a quest to an enchanted lake of wisdom. The issues here are not related to the execution -- DeCarlo's staging is lively and spirited, while the unusually likable ensemble of extremely fresh-faced and appealing young performers assay their parts with enthusiasm and genuine vocal talent. However, the play itself, a schematic and derivative fantasy tale couched in flatfooted dialogue and tinny musical numbers, is disappointing. The message of Rudie's play -- that young folks grow out of their childlike imaginative worlds -- is by no means dismissable, but the clunkiness of the writing never allows the piece to succeed as either a genuine children's myth or an ironic adult tale. (Paul Birchall). Saturdays, 7 p.m.; Sundays, 3 p.m. Continues through Sept. 29. The Other Space at Santa Monica Playhouse, 1211 Fourth St., Santa Monica, 310-394-9779, www.santamonicaplayhouse.com.

GO:The Bells of West 87th: Elin Hampton's play derives its comedy from the antics of an eccentric family. At 39, Molly (Cameron Meyer) has never escaped from the tyranny of her critical, exploitative parents, who have decided she's a lesbian because she won't wear makeup, and taunt her about her lack of a social life. Dad Eli (Robert Towers) is an elderly leprechaun obsessed with performing magic tricks and keeping the world informed of the state of his prostate. Domineering Mom Ida (Carol Locatell) walked out on Eli five years ago, and moved in with Molly. Now Molly has acquired a beau, Chris (James Marsters), an amateur poet who works at a miniature golf course, and she brings him home to meet the family, with predictably messy results. Superficially, the piece resembles You Can't Take It with You, but that play's sunny disposition is replaced by a more jaundiced view, as Molly strives to escape her tyrannical family. This is essentially sitcom stuff, but it's cleverly written and acted expertly by a solid ensemble, including Dagney Kerr as Molly's glamorous married sister. Director Richard Pierce keeps things moving briskly on the handsome, two-room set designed by Jeff McLaughlin. (Neal Weaver). Fridays, Saturdays, 8 p.m.; Sundays, 6 p.m. Continues through Oct. 13. Greenway Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, www.greenwayarts.org.

GO:Bob Baker's It's a Musical World!: Nearly three decades ago, this reviewer attended a production of The Nutcracker with his daughter, and was surprised how thoroughly enjoyable this "children's show" was. Similarly, while It's a Musical World reveals no surprises, the production at the Bob Baker Marionette Theater is a kick from start to finish, and there's even free ice cream after the performance. It's essentially a musical variety show staged in a large carpeted room with chandeliers, immense red curtains and lots of space for the kiddies to take a front-row seat. The musical selections are culled from country, pop, classical, R&B, rock and familiar musicals, and there's even a marionette from Azusa who sings an enchanting aria. Here is a universe of puppets of all shapes, sizes and artful imaginings. The costuming is an eye-catching panorama of colors and styles, and the puppeteers dazzle with their skills. On display are a troupe of clowns, some ice skaters outfitted in turn-of-the-century garb, a garrulous Eskimo, a burlesque chorus, a disco duet featuring "Turn the Beat Around" and a grand American finale performed with the Statue of Liberty as a backdrop. (Lovell Estell III). Saturdays, Sundays, 2:30 p.m.; Tuesdays-Fridays, 10:30 a.m. Continues through Sept. 29, $15. Bob Baker Marionette Theater, 1345 W. First St., Los Angeles, 213-250-9995, www.bobbakermarionettes.com.

GO:Breath and Imagination: The Story of Roland Hayes: Daniel Beaty's West Coast premiere revives the lost-to-history account of Roland Hayes, a son of former slaves and the first internationally lauded African-American classical singer. Raised in the South on hard work and spirituals, Hayes (Elijah Rock) overcomes early tragedy to perform in Chattanooga's black churches. When an instructor intervenes to provide professional training, Hayes confronts the objections of his sassily beatific mother, Angel Mo (Karan Kendrick), who believes her son is destined for life as a preacher. Condensing Hayes' life story inevitably leads to some whiplash plot twists and hurried catharsis, but Rock and Kendrick's chemistry under Saundra McClain's direction sustains and clarifies the play's themes. Accompanist Kevin Ashworth tackles a grab-bag of supporting roles, perhaps most jarringly as Hayes' father, when his pale skin imbues the endearment "boy" with inadvertent menace. But his presence offers a pleasing, if farcical, dimension. Shaun Motley's handsome, sweeping wooden set stands in for Georgia fields and concert halls alike. Most stirring is Rock's lustrous timbre as the mature Hayes: Harmonizing with Kendrick through earthy spirituals, he soars through von Gluck's "O Del Mio Dolce Ardor" before dipping into a soul-trembling version of "Were You There?" The superb music direction is by Rahn Coleman. (Jenny Lower). Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m.; Saturdays, 3 p.m. Continues through Oct. 13. Colony Theatre, 555 N. Third St., Burbank, 818-558-7000, www.colonytheatre.org.

Broadway Bound: Neil Simon's autobiographical Pulitzer Prize-winning play about Eugene and his older brother Stanley, who are trying to break into the world of show business as professional comedy writers while coping with their parents' divorce. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Wednesdays, Thursdays, 7:30 p.m.; Saturdays, 2 p.m. Continues through Oct. 13. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada, 562-944-9801, www.lamiradatheatre.com.

Bulrusher: Set in 1955 in the redwood country of the Bay Area, a multiracial girl grows up in a predominantly white town. Found floating in a basket on the river as an infant, Bulrusher is an orphan with a gift for clairvoyance that makes her feel like a stranger. Written by Eisa Davis, directed by Nataki Garrett. Mon., Sept. 30, 7 p.m. VS. Theatre, 5453 W. Pico Blvd., Los Angeles, www.vstheatre.org.

GO:The Burnt Part Boys: With a hardscrabble Appalachian setting and a score that engagingly echoes the melodies of Copland, Bernstein and Sondheim, this captivating new musical (book by Mariana Elder, music by Chris Miller, and lyrics by Nathan Tysen) is both a sensitive meditation on grief and a heartfelt coming-of-age tale. Ten years after their dads perished in an accident at an isolated mine, a group of teenagers embark on a pilgrimage to visit the spot. Along the way, they are forced to confront their own mortality, their memories of their family and their goals for the future. Director Richard Israel's intimate and beautifully atmospheric production crackles with youthful energy, and, as the characters embark on their rural journey, the piece takes on the feel of a ghost story of loss and redemption. Under Gregory Nabours' crisp musical direction, the bluegrassy songs are executed with heart and gusto. The ensemble is populated by a cast of mostly young performers with unexpectedly subtle vocal chops and strong emotional range. A powerful turn is offered by Daniel David Stewart as Pete, the angry teen whose impulsive actions force his older brother (an equally powerful Aaron Scheff) to pursue him into the wild. (Paul Birchall). Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Third Street Theatre, 8115 W. Third St., Los Angeles, 323-655-9232.

GO:Captain Dan Dixon vs. The Moth Sluts From the Fifth Dimension: A nicely acted, crisply directed and neatly written piece of 1950s sci-fi comedy, featuring nearly naked, green-painted, go-go-dancing space aliens -- what's not to love?! Playwright Matthew Sklar stars as Captain Dan Dixon in his creature-feature retro romp through space. Panels of switches, buttons and analog meters signify the interior of a spacecraft as he and his crew of seven rockets into the fifth dimension, causing a purring, whirring sextet of moth-like minxes to materialize. Clad in teeny, gold-lamé hot pants, white go-go boots and pasties, the jiggling, shimmying erotic powers of the Vulvulans gradually infect the brains of almost all on board. The only person apparently immune is Dr. Canigulus (incisively portrayed by Jonica Patella), the ship's brainiac -- thanks to her massive, mutant cerebellum. It's up to her to decipher the true intentions of these insectile invaders. Sebastian Muñoz directs his cast of 14 extremely well; all have fun with the rapid-fire '50s lingo, playing the trashy, B-movie sexploitation tone straight without overly camping it up. Jeri Batzdorff and Corey Zicari (also a blond-wigged moth slut) created skimpy costumes for the babes and Star Trek-inspired suits for the crew. R. Benjamin Warren devised the clever props. Gloria Baraquio is great as Urania, the ship's android and captain's concubine, unhappily ousted by statuesque moth leader Empress Syphla (a sexy and sinister Katherine Canipe). (Pauline Adamek). Fridays, Saturdays, 8:30 p.m. Continues through Sept. 28. Zombie Joe's Underground Theatre, 4850 Lankershim Blvd., North Hollywood, 818-202-4120, zombiejoes.homestead.com.

Cinnamon Girl: A mother's mysterious death and a cinnamon plantation owner's violent abuse of power causes Salani, a young cinnamon peeler, to flee the plantation and begin an odyssey on which she discovers life and herself. Set in 1937 Ceylon. Book and lyrics by Velina Hasu Houstin, music by Nathan Wang. Presented by Playwrights' Arena. Mon., Sept. 30, 7:30 p.m. Greenway Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, www.greenwayarts.org.

Death of a Salesman: Arthur Miller's 1949 play about father and salesman Willy Loman, and his struggle to hold on to the American dream. Thursdays-Saturdays, 8 p.m.; Saturdays, Sundays, 2:30 p.m.; Tuesdays, Wednesdays, Sundays, 7:30 p.m. Continues through Sept. 29. South Coast Repertory, 655 Town Center Drive, Costa Mesa, 714-708-5555, www.scr.org.

GO:Do Androids Dream of Electric Sheep: Any adaptation of a novel is a compromise of approximation whose objective should be to faithfully capture the spirit and ideas of the prose in a dramatically compelling way. Which is why Philip K. Dick fans, who have repeatedly suffered the indignity of having their favorite sci-fi author plundered by dumbed-down Hollywood blockbusters, will cheer adapter Edward Einhorn's 2010, high-fidelity transliteration of Dick's wryly ironic, psychedelic, 1968 hall of mirrors. In Do Androids Dream of Electric Sheep, the time is a war-ravaged future in which the question of what it means to be human has been vastly complicated by a band of renegade androids passing themselves off as flesh-and-blood (it's the source material for Blade Runner). Freelance assassin Rick Deckard (Eric Curtis Johnson), a man who relies on a mood device to feel anything at all, is charged with weeding the imposters from the populace via administering "empathy tests" and summary execution. Suffice it to say that nothing is what it seems. Jaime Robledo's inventively cinematic staging (on DeAnne Millais' computer-detritus set) and an unusually fine ensemble (including Lynn Odell, Corey Klemow, Marz Richards and Rafael Goldstein) capture all the nuanced terms of Dick's allegory. But the real discovery of the evening is Kimberly Atkinson and her subtly delineated dual turn as the doppelgangers Rachael Rosen and Pris Stratton. (Bill Raden). Thursdays-Saturdays, 8 p.m. Continues through Oct. 19, bit.ly/ElectricSheepLATix. Sacred Fools Theater, 660 N. Heliotrope Drive, Los Angeles, 310-281-8337, www.sacredfools.org.

The Dream of the Burning Boy: In the wake of the sudden death of popular high school student Dane (Matthias Chrans), each of the characters in David West Read's play comes to terms with the tragedy in a flip but ultimately sincere way. This starts with Dane's English teacher, Larry (Jeff Hayenga), and includes Dane's sister, Rachel (a manically intense Jayne McLendon); his girlfriend, Chelsea (Joslyn Kramer); his friend Kyle (Zach Palmer); and his mother, Andrea (a scene-stealing Melissa Kite). As the characters try to find solace, the hidden ways in which they are connected come to light, nudged along by Steve (Tyler Ritter), the young guidance counselor. Director Edward Edwards deftly balances the comedy and tragedy in the piece, playing its emotional intensity palpably and engagingly. But while cast and director give it their all in a tonally spot-on rendition of the high school experience, a number of the characters and storylines could stand to be fleshed out. (Mayank Keshaviah). Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 13. Malibu Playhouse, 29243 Pacific Coast Highway, Malibu, 310-589-1998, www.malibuplayhouse.org.

The End of It: Breaking up is hard to do, particularly if you're embedded in a 20-year marriage. That's the not terribly surprising message of Paul Coates' play, illustrated by three couples: one straight (Kelly Coffield Park and playwright Coates), one gay (David Youse and William Franklin Barker) and one lesbian (Ferrell Marshall and Wendy Radford). The three couples appear sometimes separately, sometimes simultaneously, suggesting that they are almost interchangeable as they deal with such issues as anger, grief, blame, resentment, loss of desire, fear of aging and abandonment. Coates' script is intelligent, perceptive and sometimes funny, but almost fatally restrained. Only Park is given the opportunity to tap into the raw emotions inherent in the situation. Director Nick DeGruccio marshals his fine actors through a nearly impeccable production, on François-Pierre Couture's blandly elegant set, but no amount of direction can provide the excitement the text fails to supply. (Neal Weaver). Thursdays-Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Oct. 20. Matrix Theatre, 7657 Melrose Ave., Los Angeles, 323-852-1445, www.matrixtheatre.com.

Flowers for Algernon: Deaf West Theatre combines signed and voiced dialogue for a new perspective on this modern American classic, about an intellectually disabled man who undergoes experimental surgery to increase his IQ to the level of genius. Written by David Rogers, inspired by the book by Daniel Keyes, directed by Matthew McCray. Starting Sept. 28, Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 3. Whitefire Theater, 13500 Ventura Blvd., Sherman Oaks, 818-990-2324, www.whitefiretheatre.com.

Fool For Love: Sam Shepard's drama about Eddie, a rodeo stuntman, and May, his lost love, whom he has found living at a motel in the Mojave Desert. Directed by Gloria Gifford. Saturdays, 8 p.m.; Sundays, 7:30 p.m. Continues through Sept. 29. T.U. Studios, 10943 Camarillo St., North Hollywood, 818-205-1680.

Frank and Ava: It's hard to imagine at this late date what new light a stage play could shed on the tumultuous, six-year, 1950s tabloid marriage of Hollywood icons Frank Sinatra (Rico Simonini) and Ava Gardner (Stefany Northcutt). And if playwright Willard Manus' two-character drama is any indication, the answer turns out to be very little. That's not to say that Manus' straightforward biographical survey isn't thorough in its chronicle of the pair's fierce ambitions, insecurities and appetites for both alcohol and marital infidelity, or what inevitably happens when that combustive combination is subjected to the unforgiving accelerant of wealth and celebrity. To that end, Simonini (who bears a passable physical resemblance to a 40-something Sinatra) and Northcutt capably trace the eventful outlines of the story, but neither Manus nor director Kelly Galindo's staging ultimately convinces in illuminating the mysterious charisma of the evidently rather venial couple or why we still care. (Bill Raden). Sundays, 5 p.m. Continues through Sept. 29, hollywoodfringe.org/projects/1371. Three Clubs Cocktail Lounge, 1123 Vine St., Los Angeles, 323-462-6441, www.threeclubs.com.

Gallery Secrets: 4 Plays, 4 Exhibit Halls, 4 Time Periods: Four short plays by four Los Angeles playwrights, performed after hours at the Natural History Museum of Los Angeles County: 1913: A Vast Hoard, written by Tom Jacobson, performed in the Rotunda; 1929: Skins and Bones, written by Ruth McKee, performed in the African Mammal Hall; 1978: Under the Glass, written by Zakiyyah Alexander, performed in the Gem and Mineral Hall; 2013: Prom Season, written by Boni B. Alvarez, performed in the Dinosaur Hall. A production of Chalk Repertory Theatre in conjunction with the Natural History Museum of L.A. County's 100th Anniversary. Fri., Sept. 27, 7 p.m.; Sun., Sept. 29, 7 p.m.; Sat., Oct. 5, 7 p.m.; Sun., Oct. 6, 7 p.m.; Fri., Oct. 11, 7 p.m.; Sun., Oct. 13, 7 p.m. Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles, 213-763-3466, www.nhm.org.

GO:

Prometheus Bound: A new production of the classic Greek tragedy by The CalArts Center for New Performance. The set features the use of a twenty-three foot, five ton revolving metal wheel, to which the protagonist, Prometheus, is permanently bound. See Stage feature: http://www.laweekly.com/2013-09-19/stage/prometheus-bound-getty-villa/full/. Mondays, Wednesdays-Sundays. Continues through Sept. 28. Getty Villa, 17985 Pacific Coast Highway, Malibu, 310-440-7300, www.getty.edu.

Hamlet: An all-female production of Hamlet -- why?! The gender-bending (and multicultural) casting permits this motley cast of women to tackle the tragedy's meaty classic roles but adds nothing to the production. Rather, it distracts and detracts. Lisa Wolpe and Natsuko Ohama co-direct and star (as Hamlet and Polonius, respectively) in a lively rendition that gallops toward its (implied) bloody finale. Yet this tragedy could have used a firmer hand on the reins. Some perfs are good, others woeful. Emphatic gestures and shouted delivery, as well as the random sound design, rob the text of its subtleties, making this Hamlet for Dummies. Wolpe's interpretation of the gloomy Dane is bitter, sarcastic, playful and energetic as she roughs up both Ophelia and Gertrude in tempestuous scenes. Unfortunately, Wolpe also sometimes rushes her delivery of the scintillating text. Ophelia (Chastity Dotson) is excellent in her descent from confusion into insanity, while the majestic set of faux stone, with its trapdoor for the grave scene, is superb, including its upstairs realm for the lumbering, un-wraithlike ghost of Old King Hamlet (Elizabeth Swain). The swordplay is excellent; the rest is -- silence. (Pauline Adamek). Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Wed., Oct. 2, 8 p.m.; Thu., Oct. 10, 8 p.m.; Wed., Oct. 16, 8 p.m.; Thu., Oct. 24, 8 p.m. Continues through Oct. 27. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

The Human Spirit: The story of men and women in South Africa who formed a "Rainbow Coalition" during apartheid in order to make the country a better place for those who were the most disadvantaged and discriminated against. Through Sept. 28, 8 p.m.; Sun., Sept. 29, 2 p.m., www.thehumanspirit-thebook.com. Stella Adler Theatre, 6773 Hollywood Blvd., Los Angeles, 323-465-4446, www.stellaadler-la.com.

In My Corner: The theme of fathers and sons occupies well-trodden ground in the theater, but Joe Orrach's exploration of his relationship with his Puerto Rican father is unique in its presentation. Having been a professional boxer and tap dancer, Mr. Orrach is hardly an average Joe, and he and co-writer Lizbeth Hasse infuse this solo show with elements of his former lives, cleverly employing choreography, a jump rope and a speed bag in the storytelling ... not to mention a live jazz trio. Headed by nimble pianist and musical director Matthew Clark, the musicians provide a rich rhythmic and melodic undercurrent to the show, with a sound that's at times reminiscent of another Bay Area jazz virtuoso, Vince Guaraldi. Director Jeremiah Chechik helps Orrach combine the storytelling with the physicality of the show (such as using the speed bag as a dance partner) and, with lighting designer Briana Pattillo, creates some solid visuals onstage (especially the boxing ring). However, this former pugilist doesn't land as many punches as he ought to; despite his fascinating source material, the show meanders between episodes, lacking a strong enough dramatic throughline to build emotional momentum. Also, other than his father's character, none of the rest of Orrach's family is as well developed in the piece. Still, with some reworking, Orrach and Hasse could potentially turn Joe's multifaceted life experience and talents into a knockout of a show. (Mayank Keshaviah). Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 3. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

GO:In the Next Room, or The Vibrator Play: In Sarah Ruhl's smart and pointed satire In the Next Room, or The Vibrator Play, it's not just middle-class Victorian women who are sexually clueless: it's their men as well. The time is the 1880s, and man of science Dr. Givings (Michael Oosterom) is using a primitive electronic vibrator to treat "hysterical" female patients, who depart reinvigorated and refreshed while his own unhappy wife, Catherine (Joanna Strapp), eavesdrops enviously in the adjoining room. Eventually Catherine summons the courage to surreptitiously invade her husband's office and discover for herself the pleasurable side effects of this pioneering modality. Directed by August Viverito, the play successfully extends well beyond burlesque, sporting shades of Ibsen while focusing on the struggles between the sexes, along with the loneliness, boredom and frustration of traditionally obedient women's lives. At first this production's opening-night presentation seemed stagey and less than ideally crisp, but it gathered steam as the performers grew limber and confident and immersed themselves in the story. Some of the most hilarious moments arise around Yael Berkovich's portrayal of Mrs. Daldry, a formerly weepy neurotic whose vocal responses to the doctor's treatment soar to operatic realms. By contrast, the play's most moving highlights are embodied in Candace Nicholas-Lippman's fine rendering of Elizabeth, the African-American wet nurse hired to breastfeed Catherine's baby when Catherine's own milk stops flowing. An honest working woman mourning the death of her own infant, she hasn't the luxury of the antics of the spoiled upper classes. It is she who enlightens the other ladies about the true nature of the sensations they are experiencing for the first time. (Deborah Klugman). Fridays, Saturdays, 8 p.m. Continues through Sept. 28. Secret Rose Theater, 11246 Magnolia Blvd., North Hollywood, 877-620-7673, www.secretrose.com.

Ise Lyfe: Pistols & Prayers: A spoken word hip-hop theater piece, written and performed by artist and educator Ise Lyfe of HBO's Def Poetry Jam. The production is a sociopolitical commentary, blended with a glimpse into Lyfe's coming of age as a man, artist, and advocate for social change. Wednesdays, 8 p.m. Continues through Nov. 27. Greenway Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, www.greenwayarts.org.

It's Only a Play: A star-studded reading of this comedy about show business and its often bizarre practitioners, produced by Skylight Theater as part of a "Salute" to the work of playwright Terrence McNally. Sat., Sept. 28, 3 & 8 p.m. Skylight Theater, 1816 1/2 N. Vermont Ave., Los Angeles, 323-666-2202.

Just Imagine: Although the wow factor is missing, aficionados of John Lennon probably will appreciate this tribute to the iconic musician, which juxtaposes renditions of his most famous songs with a narrative of his life. Lennon impersonator and lead singer Tim Piper addresses the audience in a confiding manner as he relates events in Lennon's life -- his troubled boyhood in Liverpool culminating in the death of his mother, up through The Beatles, his marriage to Yoko Ono and his transformation into a family man and spokesman for the counterculture antiwar movement. There are no surprises in writer-director Steve Altman's script, and watching and listening to Piper, an American donning a Liverpool accent, failed to persuade me that I was hearing the real McCoy. That said, Piper's backup band, Working Class Hero, performs well and provides an opportunity for those who wish to reimagine the legend to do so. (323) 960-4442, justimaginetheshow.com. (Deborah Klugman). Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Dec. 29. Hayworth Theatre, 2511 Wilshire Blvd., Los Angeles, 310-213-6955, www.thehayworth.com.

Kin: A romantic comedy-drama, written by Bathsheba Doran and directed by Jules Aaron, about the relationship between a Columbia poetry professor and a personal trainer from Ireland. Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 27. Theatre 40 at the Reuben Cordova Theater, 241 Moreno, Beverly Hills, 310-364-0535, www.theatre40.org.

Lake Anne: A New York actress disrupts the peace among a former prima ballerina teetering on the edge, her damaged son, and a mother with her own agenda. Written by Marthe Rachel Gold, directed by John Frank Levey. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 9. NoHo Senior Arts Colony, 10747 Magnolia Blvd., Los Angeles.

Light in the Darkness: Adapter and director Ramon Monxi Flores weaves Mayan mythology into this otherwise predictable message drama about a gangbanger and his uncertain journey toward redemption. Originating from a 1992 script by Victor Tamayo, which focused primarily on drug abuse, the familiar plot revolves around Carlos (Johnny Ortiz), a parentless youth living an empty, violent existence. Street life and drug dealing leave him little time for his girlfriend, Liz (Sara Aceves); that changes when she becomes pregnant and opts, to his dismay, for an abortion. Under Flores' direction, lighting (Sohail Najafi), sound (Andrew Graves) and set design (Marco Deleon) easily eclipse both the boilerplate dialogue and the nonprofessional performances. (Exceptions include Joshua Duron as a twitchy addict, Wali Habib as a shooting victim and Xolo Mariduena as Carlos' younger self.) The production's most striking element is Victor Yerba's fabulous Maya dancing; it, along with other production elements, ties the narrative to an ancient means of salvation. (Deborah Klugman). Fridays, Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Sept. 29. Casa 0101, 2102 E. 1st St., Los Angeles, 323-263-7684, www.casa0101.org.

Lily Ann's LOVE YOU!: Some shows somehow succeed in being fun or entertaining in spite of an overload of faults. Such is the case -- sort of -- with this cabaret- style musical comedy by Beyonde Productions, with book, music and lyrics by Lily Ann. Brimming with groan-inducing shtick, it takes place in a Hollywood nightclub owned by Nicolas Caged (Austin Springer), a red-bedizened Elvis impersonator, whose singing and cache of antics are bad in a laughable sort of way. The star of the evening is the ultra-sexy Mary Lynn (Yvette Nii), who does sing a bit better, and whose desperately stretched sequined dresses garner sympathy from the audience. Mary Lynn is being courted by the "other" Elvis impersonator, Charles Love (Jamie Lane) and country-boy hunk Toby Kiss (Jesse Welch, who actually can sing). In addition to a slew of mediocre songs and music, the evening includes a return-to-the-'60s dance routine, some nifty conga playing by Bob Hardly (Jah-Amen Mobley) and a cheeky murder mystery. (Lovell Estell III). Saturdays, 8 p.m. Continues through Oct. 12. The Black Box Theater, 12420 Santa Monica Blvd., Los Angeles, 310-979-7078.

The Lion in Winter: A comedic drama that takes place in King Henry II of England's castle at Chinon, France at Christmastime, 1183. King Henry has three surviving sons by his estranged wife, Eleanor of Aquitaine: Richard (The Lionheart), Geoffrey and John. Henry wants the kingdom to stay united after his death, but all three sons want to rule and it is likely to be torn apart by revolution. Written by James Goldman, directed by Michael Cooper. Fridays, Saturdays, 8 p.m.; Sundays, 2:30 p.m. Continues through Nov. 16. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre, 626-355-4318, www.sierramadreplayhouse.org.

The Long Way Home: Reflections on the Tracers Journey: A look back at the conception, creation, and theatrical journey of the landmark Vietnam play Tracers, utilizing poetry, projections, storytelling, and live music. Written by John DiFusco, directed by John Perrin Flynn. Presented by Rogue Machine Theater Company and USVAA. Starting Oct. 3, Thursdays, 8 p.m.; Sundays, 3 p.m.; Wed., Oct. 9, 8 p.m. Continues through Nov. 7. USVAA: United States Veterans' Artists Alliance, 10858 Culver Blvd., Culver City, 310-559-2116, www.usvaa.org.

Lovecraft: Nightmare Suite: Six strange tales of monsters, mayhem, and cosmic horrors brought to life through a combination of storytelling, puppetry, and shadow play. All text is taken directly from the short fiction, essays, and poetry of the godfather of modern horror, H.P. Lovecraft. Conceived and directed by Dan Spurgeon. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Nov. 3. Lex Theatre, 6760 Lexington Ave., Los Angeles, 323-871-1150.

Marilyn ... MADNESS & Me: A tale of unrequited love, focused on the last month's of Marilyn Monroe's life as told in first-person by the man who lived it, and confirmed by excerpts from Marilyn's diary. Written by Frank V. Furino, from an original concept by Didier Bloch. Thursdays-Saturdays, 8 p.m.; Saturdays, Sundays, 3 p.m. Continues through Oct. 20. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood, 818-508-4200, www.elportaltheatre.com.

GO:Merlin: The Untold Adventures: Begat of a demon, gifted with second sight and shape-shifting powers, the druid Merlin provides much of the momentum of the Arthurian legend. In the process of retelling the fabled wizard's backstory, playwright-director Ellen Geer has concocted a high fantasy with a strong antiwar flavor. The work's emphasis on meshing threads of pagan philosophy and Christian references -- with a side trip to mythical Atlantis thrown in for good measure -- can cause matters to become a little thematically and dramatically muddled. Yet Geer's brisk and buoyant direction makes excellent use of her atmospheric venue, incorporating a moody electronic ambiance alongside some elegant pageantry, thoughtful fight choreography and enchanting choral interludes. Lead Melora Marshall at times overplays her Merlin with a borderline cartoonish physicality, but it is a performance overall grounded in the epic earnestness and warm humor of Geer's text. (Mindy Farabee). Fri., Sept. 27, 8 p.m.; Sun., Sept. 29, 7:30 p.m., $25-$35. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com.

GO:A Midsummer Night's Dream: As Bottom, performer Katherine Griffith may be the best reason to see this amusing but somewhat quotidian presentation of Shakespeare's seasonal classic. Cast across gender by directors Melora Marshall and Willow Geer, Griffith's likable blowhard garners a plurality of the laughs, along with his proletarian colleagues, whose presentation of Pyramus and Thisby before Theseus' court is this production's comic highlight. By contrast, the antics of Shakespeare's quartet of quarrelsome lovers, which includes Geer as a peevish Helena, are mostly played by-the-numbers and lack a fresh edge. As Titania, Marshall exudes a mercurial flamboyance and a capricious sense of entitlement that has one rooting, ever so momentarily, for Oberon (an attention-commanding Michael McFall). Though I invariably shun the word "adorable," I have no other description for months-old Wren Scaturro, who appears as the changeling child, taking her bow with the rest of the ensemble with faint, smiling aplomb. The charm of an outdoor proscenium and the added enhancement of designer Katherine Crawford's costumes, especially for Titania, Oberon and Puck (cross-gender cast Sabrina Frame) help simulate the requisite magic. (Deborah Klugman). Sat., Sept. 28, 8 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com.

The New Situation: In playwright-director Carlo Allen's comedy, when schoolteacher Francisco (Joshua M. Bott) gets pink-slipped, he and his agoraphobic sister, Antonia (Susan M. Flynn), are forced to take out a Craigslist ad looking for boarders. Fortunately, their new lodgers -- gay, middle-aged museum docent Constantine (Jordan Preston) and womanizing restaurant manager Rudy (author Allen) -- join the siblings to become a close-knit family unit. They all celebrate their friendship by going off to get colonoscopies. And that's the play. Allen is to be commended for crafting a comedy whose characters face issues of reaching middle age. Sadly, though, the play is a dramatically maladroit work -- and the halting line readings, unfocused blocking and weird pacing jags of Allen's staging benefit the piece little. Although Flynn's comic timing provides a few moments of artistic craftsmanship, the plodding writing and other cast members' onstage awkwardness doom the piece. (Paul Birchall). Saturdays, 8 p.m.; Fri., Sept. 27, 8 p.m. Continues through Sept. 28. Promenade Playhouse, 1404 Third Street Promenade, Santa Monica, 310-656-8070, www.promenadeplayhouse.com.

GO:The Old Settler: John Henry Redwood's bittersweet romantic comedy The Old Settler is set in 1943 Harlem in the comfy home (a handsome set by Thomas Brown) of middle-aged sisters Elizabeth (Ruby Hinds) and Quilly (Jolie Oliver). Elizabeth is dignified and restrained, while her sister is outspoken and nit-picky. These church-going ladies are often like oil and water, but there's an unmistakable sisterly love and devotion that underpins the acrimony. Their bond is tested when Elizabeth decides to take in as a renter the handsome, ultra-countrified Husband Witherspoon (John R. Davidson). He's come up from the South looking for his sweetheart, Lou Bessie (played with sass and attitude by Crystal Garrett), who is only interested in a good time and the man's money. It isn't long before Husband and Elizabeth are tenderly eyeing one another. The story of a May-December romance is an old one, but it receives a charming and inventive treatment by Redwood, and also offers a sobering glimpse into the pre-civil rights-era African-American experience. The outcome is predictable, but this doesn't detract from what is a thoroughly enjoyable production with emotionally vibrant performances under the direction of William Stanford Davis. (Lovell Estell III). Sundays, 3 p.m.; Fridays, Saturdays, 8 p.m. Continues through Oct. 27. Pico Playhouse, 10508 W. Pico Blvd., Los Angeles, 310-204-4440, www.picoplayhouse.com.

Our Town: Thornton Wilder's 1938 play, described as "the greatest American play ever written," follows the small town of Grover's Corners through three acts: "Daily Life," "Love and Marriage," and "Death and Eternity." This production is narrated by a stage manager and presented minimally, in the playwright's definitive version, in honor of the play's 75th anniversary. Sat., Sept. 28, 8 p.m. Morgan-Wixson Theatre, 2627 Pico Blvd., Santa Monica, 310-828-7519, www.morgan-wixson.org.

Oy!: The story of two German Jewish sisters, Selma and Jenny, who in 1995 return to their home in Paris after a trip to the German city of their youth and try to investigate the swirl of emotions, opinions and memories that surfaced during their trip. This play questions forgiveness, the work of memory, and the state of modern racism in the world. Written by Hélène Cixous, directed by Georges Bigot. Thursdays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Actors' Gang at the Ivy Substation Theater, 9070 Venice Blvd., Culver City, 310-838-4264, www.theactorsgang.com.

The Player King: Darin Dahms in a solo performance, portraying three famous men in 19th century America's most important acting family: patriarch Junius Brutus Booth; Edwin Booth, perhaps the greatest Shakespearean actor in American history; and his brother, John Wilkes Booth, best known as "the most handsome man in America" until one fateful evening when he pulled out a derringer and changed the history of the country forever. Fridays, Saturdays, 8 p.m. Continues through Nov. 2. The Met Theatre, 1089 N. Oxford Ave., Los Angeles, 323-957-1152, www.themettheatre.com.

GO:Point Break Live!: Creating a raucous, rocked-out party atmosphere by blasting preshow music (think "Welcome to the Jungle" at ear-splitting volume), the hilarious spoof show Point Break Live! offers super-soaked excitement in a grungy Hollywood nightclub setting. What do we mean by "soaked"? Let's just say you'd be wise to take them up on the $2 ponchos for sale before the show. The low-tech, seat-of-the-pants, interactive presentation of an abbreviated version of Kathryn Bigelow's slightly corny 1991 cop surf drama is further camped up by a fun-loving cast. The actor playing the central role of Johnny Utah -- memorably portrayed onscreen by Keanu Reeves in his "Woah, dude" stoner phase -- is recruited from among the dozen or so audience members who audition on the spot and are rated by the audience. The rookie performer then goes on to utter dialogue aided by cue cards. (Too bad opening night's guy was virtually illiterate and inexplicably prone to channeling Forrest Gump.) Utah's volatile detective partner, Pappas, is well played by Tom Fugedi, though he would benefit from a bit more crazy Gary Busey and a bit less Chris Farley in his performance. Tobias Jelinek is excellent as the bizarrely spiritual crime boss/surfer guru Bodhi. The plastic ponchos offer protection from the barrage of water spray, blood splatters and -- uh -- other bodily fluids. Stupid fun. Booze available. (Pauline Adamek). Sundays, 7:30 p.m. Continues through Sept. 29. Dragonfly, 6510 Santa Monica Blvd., Los Angeles, 323-466-6111, www.thedragonfly.com.

The Pokémusical: Winner of the 2013 Hollywood Fringe Festival's "Best Fringe Festival Musical Award," this original satire follows the first journey of Ash, Misty, Brock, Pikachu and the rest of the crew from the original games as they traverse Kanto, this time with added song and dance. Book and Lyrics by Alex Syiek. Fridays, 8 p.m.; Saturdays, 11:59 p.m. Continues through Sept. 28. Elephant Stages, 6322 Santa Monica Blvd., Los Angeles.

Presidential Suite: A night in Las Vegas with eight of America's greatest presidents competing in a pageant that will determine which among them is the "Most Valuable President" in United States history. Book by Matthew Hoffman & William Norrett, music and lyrics by David P. Johnson. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 27. Whitmore-Lindley Theatre Center, 11006 Magnolia Blvd., North Hollywood, 818-761-0704.

GO:The Rainmaker: A con-man/drifter walks into a small town, usually in the Midwest, and seduces a vulnerable local female. He not only seduces her, he awakens her to her true self and potential, which the opinions of others -- her family and society -- have been suffocating. Oh, brother. Get the broom and sweep off the cobwebs. In lesser hands than director Jack Heller's, watching The Rainmaker would be like trudging through a slightly dank, primeval marsh without rubber boots -- the kind of experience where you might say, "Well, isn't this historic and curious. Where can I dry my socks?" The production is saved in part by its linchpin, Tanna Frederick's droll, rat-smart Lizzie. With subtlety and composure that often belies the text, she knows who she is and what she wants. Though the play is over-written, Frederick's performance lies so entrenched beneath the lines, it's as though she absorbs the play's excesses so that they don't even show. Her terrific performance is not enough to turn the play into a classic, but it does provide enough of an emotional pull to reveal the reasons why it keeps getting staged. (Steven Leigh Morris). Fridays, Saturdays, 7:30 p.m.; Sundays, 5 p.m. Continues through Oct. 27. Edgemar Center for the Arts, 2437 Main St., Santa Monica, 310-399-3666, www.edgemarcenter.org.

GO:Rebecca's Gamble: Issues of science, medical ethics and criminal law propel Art Shulman and Robert Begam's provocative courtroom drama. Director Rick Walters has transformed this small venue into a courtroom interior surrounded by audience members, some of whom render a verdict at play's end. The site-specific setting is used to good effect. The accused, Dr. Rebecca Adler (Diane Linder), is charged with murder for her part in the cryonic disposal of her terminally ill patient. Counsel for the defense is Joe Purcell (Randy Vasquez), while the state is represented by Scott Novak (Jerry Weil), with Judge Dale Fox (Henry Holden) presiding. The format follows the procedures of a real court proceeding: Witnesses are called, testimony is given, cross-examination is allowed and a verdict is rendered. There are even a number of emotional outbursts, which are a bit overworked. The compelling thing about this thoughtfully written script is that it explores in detail some topical scientific, ethical and legal subjects that are easily grasped. Cast performances, on balance, are quite good, notwithstanding a few glaring instances of botched lines. (Lovell Estell III). Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 6. Theatrecraft Playhouse, 7505 1/2 Sunset Blvd., Los Angeles, 323-876-1100.

REDCAT's Radar L.A. Festival: An international festival of contemporary theater. REDCAT gathers the some of the most influential theater companies from around the globe to perform alongside innovative Los Angeles artists. Visionary works of theater from Latin America, the Pacific Rim, and Los Angeles in 18 productions performed in downtown's historic theaters and throughout the city. A professional symposium will highlight interdisciplinary approaches and new theatrical forms. REDCAT will be the late night festival hub with a line-up of DJs and informal performances. Visit redcat.org/festival/radar-la-festival-2013 for a complete schedule. Through Sept. 29, 8 p.m.; Through Oct. 6, www.redcat.org/festival/radar-la-festival-2013. REDCAT: Roy and Edna Disney/CalArts Theater, 631 W. Second St., Los Angeles, 213-237-2800, www.redcat.org.

The Royal Family: The work's the thing in George S. Kaufman and Edna Ferber's gentle 1927 spoof of the Barrymore dynasty, which forms the centerpiece of Theatricum Botanicum's 40th-anniversary season. The venerable, oak-nestled venue's own founding family fills in as the board-treading Cavendish clan. Artistic director Ellen Geer slings Downton Abbey-worthy zingers as dowager Fanny, while sister Melora Marshall and daughter Willow Geer carry the torch as the next generations of theatrical luminaries. All three women nail the benign entitlement and cozy security that comes from knowing you're an institution, but the dated material may be more thrilling for its cast than the audience. More compelling than the distant Barrymores is the play's exploration of pursuing the creative life at the cost of domestic and personal stability. Director Susan Angelo wisely avoids interfering with her cast's marvelous instincts, but a tighter rein would keep us from sharing Marshall's bewilderment when the madcap pace proves too frenetic. (Jenny Lower). Sat., Sept. 28, 4 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com.

Rumination: Written by Amir Khalighi and set in 13th century Persia, this play is a spiritual and physical journey into the heart of prolific poet Jalal ad-Din Muhammad Balkhī, better known as "Rumi." Starting Sept. 29, Sundays, 7 p.m. Continues through Oct. 27. Zombie Joe's Underground Theatre, 4850 Lankershim Blvd., North Hollywood, 818-202-4120, zombiejoes.homestead.com.

Sheet Cake Sliding: A black comedy about a self-made business executive who tries to mold his family to conform to his plans, only to find that his family is a creation as complex and dangerous as Frankenstein's monster. Written by Stacia Saint Owens, directed by Nicholas Newell. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Oct. 19. Theatre of NOTE, 1517 N. Cahuenga Blvd., Los Angeles, 323-856-8611, www.theatreofnote.com.

GO:A Short Stay at Carranor: Anticipating a reunion with her married former childhood sweetheart, Irene (1955 Miss America and Barnaby Jones actress Lee Meriwether) enlists daughter Shelby (Corinne Shor) to ferry her to the family's lakeside cabin, Carranor. The septuagenarian divorcee dreads Chet (Don Moss) will break off their budding emotional affair, while her righteous offspring bristles at a presumed seduction that could leave her mother bereft. Reality, it turns out, proffers a more complicated synthesis. Meriwether's performance offers the best reason to see this production: Her stately grace brings dignity to a portrayal that feels both effortless and fully realized. As her conflicted paramour, Moss has the tougher battle but achieves a remarkable degree of sympathy. The staging's major flaw is the unerringly wrong-footed Shelby, who alienates even her husband with her grating presence and relentless harping. Ultimately the hard-working but miscast Shor can't salvage the character from its structural problems: Shelby is supposed to be a dogmatic liberal, but her particular brand of rigidity plays as distinctly more red-state. Yet the narrative resists simplistic moralizing, and for a certain theatergoer may offer a refreshing take on life's final analysis. John Gallogly's direction trades the saccharine for the bittersweet, while Jeff Rack's cozy set complements the December courtship. (Jenny Lower). Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Sept. 29. Theatre West, 3333 Cahuenga Blvd. W., Los Angeles, 323-851-7977, www.theatrewest.org.

Silent Witnesses: Written and performed by Stephanie Satie. Decades after World War II, a group of women who survived the Holocaust as children meet in a group moderated by a therapist and begin to tell their stories for the first time. Based on true events. Directed by Anita Khanzadian. Sundays, 7:30 p.m. Continues through Oct. 27. Whitefire Theater, 13500 Ventura Blvd., Sherman Oaks, 818-990-2324, www.whitefiretheatre.com.

Sublimity: David Bridel in the role of tormented English poet Samuel Taylor Coleridge, focusing in particular on the fateful evening in 1797 when he composed his famous pre-romantic masterpiece, Kubla Khan. Written by Bridel. Sun., Sept. 29, 7 p.m. Lyric-Hyperion Theater & Cafe, 2106 Hyperion Ave., Los Angeles, 323-906-8904, www.lyrichyperion.com.

GO:The Taming of the Shrew: The slapstick, or batacchio, which originated in the commedia dell'arte of 16th-century Italy, is a wooden device used to create a loud, smacking sound. So it seems fitting that in staging Shakespeare's contemporaneous tale of a headstrong woman who finally meets her match, director Ellen Geer plays its physical comedy to the hilt, incorporating slide whistles, drums and other noisemaking devices to punctuate the onstage pratfalls, fisticuffs and acrobatics. The choice is mostly effective, but it's Geer's vivacious staging of the battle between Katharina (a hilariously histrionic Willow Geer) and Petruchio (a charmingly macho Aaron Hendry) that makes the show. Their terrifically torrential tango is complemented by Petruchio's servant, Grumio (Melora Marshall), who delivers perfectly pitched Shakespearean asides and wordplay, showcasing both sides of the "wise fool." The remaining cast members, clad in Val Miller's gorgeous period costumes, admirably execute their roles as well. The play's conclusion, with its seeming support for the patriarchy (or is it to be merely taken as farce?) is a bit jarring. Nonetheless, this wonderful, sylvan hideaway, where 40 years ago its namesake founder created a haven for artists, retains its rustic charm and remains an excellent setting for a night of Shakespeare. (Mayank Keshaviah). Sun., Sept. 29, 3:30 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com.

Tracers: The stories of a group of young American soldiers who endure the horrors of combat in Vietnam and the PTSD challenges of coming home. A series of events intertwined with music, movement, and ritual. Written and directed by John DiFusco. Presented by Rogue Machine Theater Company and USVAA. Starting Sept. 28, Fridays, Saturdays, 8 p.m.; Sun., Oct. 13, 3 p.m. Continues through Nov. 9. USVAA: United States Veterans' Artists Alliance, 10858 Culver Blvd., Culver City, 310-559-2116, www.usvaa.org.

Trust: As the newly-crowned prince of rock n' roll, Cody is living a charmed life, which leads his fiancé Becca to seek her own adventures with the strangers around her. Written by Steven Dietz. Starting Oct. 3, Thursdays-Saturdays, 8 p.m. Continues through Nov. 9. Crown City Theatre, 11031 Camarillo St., North Hollywood, 818-605-5685, www.crowncitytheatre.com.

Twilight Zone Unscripted: There is good reason for live improv's reputation as the high-wire balancing act of comedy. But even the Flying Wallendas can have an off night. And in the case of Impro Theatre's long-form send-up of Rod Serling's 1960s sci-fi anthology classic, "off" can prove very deadly indeed. Directed by Jo McGinley and Stephen Kearin, the Impro troupers (who on this evening included Lisa Fredrickson, Brian Michael Jones, Brian Lohmann, Nick Massouh, Michele Spears, Floyd VanBuskirk and director McGinley) ad-lib four half-hour episodes from audience suggestions, replete with spot-on riffs of the series' signature Serling monologues. MVPs VanBuskirk, Fredrickson and Lohman each managed to knock at least one of their teammates' uninspired curves high into the stands. In between, however, the proceedings were a pointed reminder of why the outer limits of an improvised sketch remains four minutes: In live comedy, laughless seconds can seem like dog years to an uncaptivated audience. (Bill Raden). Wednesdays-Saturdays, 8 p.m.; Sundays, 4 p.m. Continues through Sept. 29, falcontheatre.com/twilight_zone_unscripted.html. Falcon Theatre, 4252 Riverside Drive, Burbank, 818-955-8101, www.falcontheatre.com.

A View From the Bridge: Many consider Arthur Miller's dramas moral tragedies, but you also can think of them as mysteries, as their narratives contain events whose true meaning only becomes clear at the end. Longshoreman Eddie (Vince Melocchi) is a salt-of-the-earth type who thinks he's doing a good deed when he lets a pair of his wife's distant cousins, both illegal immigrants from the old country, move in with his family. He soon has reason to rue this decision, though, as his lovely niece, Catherine (Lisa Cirincione), falls in love with the more handsome of the two cousins, Rodolpho (Jeff Lorch) -- and Eddie is destroyed by his own inexplicably over-the-top jealousy. This is a mostly powerful, admirably straightforward production by co-directors Marilyn Fox and Dana Jackson, which stumbles slightly during the clumsy, frenetically staged final sequence. The production is anchored by Melocchi's nicely gruff Eddie, whose turn suggests a character swept along by passions he lacks the articulacy to express. (Paul Birchall). Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m.; Thursdays, 8 p.m. Continues through Oct. 20. Pacific Resident Theatre, 703 Venice Blvd., Venice, 310-822-8392, www.pacificresidenttheatre.com.

WaveFest: A theater festival comprised of three "waves" of short plays over six weekends, centered on the theme "Go West." The plays will explore stories of the Westside and Southern California through the lens of history, neighborhood, culture, myths, and the entertainment industry. For a complete schedule and line up visit SantaMonicaRep.org. Sat., Sept. 28; Sun., Sept. 29; Fri., Oct. 4; Sun., Oct. 6; Sat., Oct. 12; Sun., Oct. 13, www.SantaMonicaRep.org. Church in Ocean Park, 235 Hill St., Santa Monica, 310-399-1631, www.churchop.org.

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What Kind of God?: A life spent immersed in Catholic school and culture erupts into crippling disillusionment for 17-year-old Aaron (Brett Donaldson) when he can no longer deny his homosexuality. Unable to cope, and wracked with doubts about the faith and his calling to the priesthood, he turns to his mentor, Father Bart (Robert Keasler), who reveals that he is gay. As it turns out, the loathsome Bishop Michael (playwright Steve Julian) has returned to the parish where ghosts of his past sexual predations lurk, and has picked Father Bart to chair a committee looking into sexual abuse. The resultant events inexorably expose secrets and unravel the lives of those involved. This could have been an engaging drama about a topical subject had Julian gone beyond the superficial. Offered instead is an unwieldy, melodramatic tale about homosexuality in the priesthood, teen sexuality, family bonds and the underbelly of church life and politics, which is neither surprising nor of much interest. Aaron's progressive, shrill meltdown approaches parody after a while, and cast performances are only satisfactory under Aaron Lyons' direction. (Lovell Estell III). Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 20. Elephant Stages, Lillian Theatre, 1076 Lillian Way, Los Angeles.